I would love to experience an outdoor performance of a John Luther Adams composition. I discovered his music thanks to this inaugural episode of Meet the Composer, an excellent podcast hosted by world-class musician/interpreter Nadia Sirota. The episode deftly reconstructs Adams' soul-search as a composer. I love the shift that occurs when we get to Alaska:
Every episode of Meet the Composer is worth a listen. I admire how it plunges into the world of contemporary avant-garde music in a way that retains less initiated ears like mine. *Fun fact: Sirota played the viola on Edo Van Breemen's original score for Fractured Land .
"Anyone who agrees to be interviewed must decide where to draw the line between what is public and what is private," Gross says. "But the line can shift, depending on who is asking the questions. What puts someone on guard isn't necessarily the fear of being 'found out.' It sometimes is just the fear of being misunderstood."
... because the notion of 'truth' is open to excellent, necessary debate/conversation, of which the previous post is but one hint. I turn to Errol Morris for more depth:
First on Radiolab, discussing the truth/untruth of an 1855 photograph taken during the Crimean War:
And in conversation with The Believer. I pulled a few excerpts (below) but the whole article is worth a read!
... to me these are really, really, really important issues.
this is my favorite Ideas episode. Fascinating approach to history. With this in mind what does today's music forecast? See link for a listen:
It's often been said that WW1 created who we are today: geopolitically and culturally. Robert Harris explains how music -- classical and popular -- both prefigured and reflected the war in the years leading up to the unprecedented destruction and after.
Sparse highlights from the great spinning sphere of publication.